CRAWFORD: Welcome, everyone. We want to begin today with three speakers who will discuss the significance of the occasion, and I am honored to be the first speaker. I’m Margo Crawford, professor of English at Cornell University. As I think about the significance of the occasion, the 40th anniversary of Callaloo, and these difficult times, I want to begin by thinking about Lucille Clifton and her words about Callaloo. Lucille Clifton wrote: “In this time in need of peace, healing, and intercultural understanding, Callaloo is clearly even more important to our spirit. Essential.” After the founding of Callaloo in 1976, Callaloo is now forty years old. Can we stop right now and applaud Callaloo and applaud Dr. Charles Rowell? [Applause] Charles Rowell, as Editor of Callaloo, has shaped it into the most acclaimed journal of black diasporic literature and culture. The Callaloo ConferenCe, moving widely from places like Atlanta, Providence, and New Orleans to Addis Ababa and Oxford, has been as pivotal as the journal in the shaping of black diasporic literature and criticism. In an essay entitled “Making Callaloo: Past, Present, and Future,” Charles Rowell explains, “Callaloo has become more than a literary journal, growing into a de facto literary and cultural center.” Callaloo itself is that literary and cultural center. I love those words. It matters that one of the panels in this 40th anniversary conference is entitled “The Future of Callaloo.” I believe each thick issue of Callaloo lets us feel black aesthetics unbound. We feel the power of black aesthetics as the power of the not-yet-finished. In these forty years, Charles Rowell’s editorial practice has been the practice of diaspora. As we know, the practice of diaspora is the practice of translation and assemblage, and it is the practice of continuity and rupture. So many issues of Callaloo give us a sense of tradition, literary and cultural, and a sense of the call and response that shapes black diasporic aesthetics, but Callaloo has also taught us how to hear rupture, the surprise of new voices, and new visual images that make call and response a little too linear. The very paradigm of call and response to me becomes a little too linear when you think about what Callaloo is doing. In Callaloo, we hear so many calls and responses echoing and so many multidirectional flows as Callaloo gives us a diaspora without a center, a diaspora that is the rhizome (the web of roots) that Édouard Glissant taught us to see, not a diaspora with a totalitarian root. During this 40th anniversary conference, we ought to celebrate Callaloo’s ability to be diasporic and local. Callaloo’s original 1976 “Black South”

中文翻译：

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Callaloo 是一个有 40 年历史的项目

克劳福德：欢迎大家。我们今天要由三位演讲者开始，他们将讨论这一场合的意义，我很荣幸成为第一位演讲者。我是康奈尔大学英语教授 Margo Crawford。当我想到这个场合的意义、Callaloo 成立 40 周年以及这些困难时期时，我想首先想到 Lucille Clifton 和她对 Callaloo 的话。Lucille Clifton 写道：“在这个需要和平、治愈和跨文化理解的时代，Callaloo 显然对我们的精神更加重要。基本的。” 1976 年 Callaloo 成立后，Callaloo 现在已经四十岁了。我们现在可以停下来为 Callaloo 鼓掌并为 Charles Rowell 博士鼓掌吗？[掌声] Charles Rowell 作为 Callaloo 的编辑，已将其塑造成最受好评的黑人散居文学和文化杂志。Callaloo 会议从亚特兰大、普罗维登斯和新奥尔良等地广泛转移到亚的斯亚贝巴和牛津，在塑造散居黑人文学和批评方面与该杂志一样重要。在一篇题为“制作 Callaloo：过去、现在和未来”的文章中，Charles Rowell 解释说，“Callaloo 已经不仅仅是一本文学期刊，而是一个事实上的文学和文化中心。” Callaloo 本身就是那个文学和文化中心。我喜欢那些话。重要的是，这个 40 周年会议的小组之一题为“Callaloo 的未来”。相信每本厚厚的Callaloo，都能让我们感受到黑色美学的无拘无束。我们将黑色美学的力量感受为尚未完成的力量。在这四十年里，查尔斯·罗威尔 (Charles Rowell) 的编辑实践一直是侨民实践。众所周知，散居的实践是翻译与组合的实践，是延续与断裂的实践。Callaloo 的这么多问题给我们一种传统感、文学感和文化感，以及一种塑造散居黑人美学的呼唤和回应感，但 Callaloo 也教会了我们如何聆听破裂、新声音的惊喜和新视觉使呼叫和响应有点过于线性的图像。当您考虑 Callaloo 正在做什么时，对我的呼叫和响应的范式变得有点过于线性了。在 Callaloo，我们听到如此多的呼唤和回应，以及如此多的多向流动，因为 Callaloo 给了我们一个没有中心的散居地，Édouard Glissant 教我们看到的一种根茎（根网）的散居者，而不是具有极权主义根源的散居者。在这个 40 周年大会上，我们应该庆祝 Callaloo 成为海外侨民和本地人的能力。Callaloo 1976 年的原创“Black South”